But at the same time I also feel bad if people think the team aren’t getting the props that they deserve – for they deserve many more props than I am able to proffer. The art director, copywriter, creative directors, crew and Isaiah are tirelessly turning out amazing / hilarious / surprising / fresh videos time after time. World class humour at a pace that defies belief. Without this content there would be nothing. No responses. Nothing to put on the Internet. Literally a void of nothingness. If you want to find out more about the team who’ve managed to write nearly 200 ads in 48 hours – they’re mostly listed here: http://www.canneslions.com/work/film/ – and if you want to see and hear 2 of them, there’s an interview with Eric and Craig on YouTube here http://www.youtube.com/watch?v=VDk9jjdiXJQ (link kindly supplied by Mr Douche-Caller).

Their contribution is as unquestionable as Isaiah and his towel. I had assumed that would have come through loud and clear.

But aside from the creatives, the crew and the performer, this seemingly ‘simple’ thing is the product of a team of people who came together in a way that I’ve personally never witnessed before. The social media guys who figured out the who and where, spotting the opportunities, pulling out the gems and putting them cleverly back into the world. The tech guys who pulled together a super smart workflow system which underpinned this production. The editors who edited all that stuff as it happened. All the people around the set. The account people. Planners. Media folk. PR. All working in real time to produce and distribute internet-primed content of amazing quality. And you’d imagine that this kind of thing would require a great producer to pull off. And you’d be right.

And of course it’d be impossible to talk about this without mentioning P&G. Without a client brave enough to work in this kind of compressed time frame again there would be nothing. That relationship of trust and understanding has been built up over time by a team of people working here at W+K and P&G, turning out great work and learning from it every step of the way. Something I’ve been 100% uninvolved with until now.

I could ramble on about this thing all day, but I’m not going to.

This was an amazing team that had a lot of fun doing something that I felt honoured and privileged to be a part of. And it seems like other people are enjoying it too. Which is nice.

This amazing record seems to have been made in 1982 in India – but no one is 100% sure it’s genuine. There’s rumours that it could have been made by a modern prankster. However, people seem to be coming round to the fact that it’s legit.

It was originally made in 1982 by a Bollywood soundtrack composer, intending to capitalise on the disco phenomenon with a combination of centuries-old classical Indian Ragas set to a disco backing. To achieve this Charanjit used a prototypical acid set-up of Roland TB303 bass melody sequencer and TR808 drum computer together with a Jupiter-8 keyboard. He basically created a sound which mirrored, and more importantly, pre-dated the first acid house record – Phuture’s ‘Acid Track’ by five years, and even preceded Chip E’s ‘Jack Trax’ in 1985.

This totally stopped me in my tracks and I had to force myself not to click on it.

I know it’s a dirty trick. I don’t know how it’s a trick. I just know it is. And I need to click the banner to find out. Only I know that when I click it I won’t find out. So I didn’t click it. And now I’m just left wondering what the trick is. Or if there is a trick. Or if the trick is just that when I click on it I will never find out what the trick is. Oh, fuck it. I just clicked on it. And it didn’t tell me how many eyes. Bastards.